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About this Show

[untitled]

NETWORK

DURATION
00:31:00

RATING

SCANNED IN
San Francisco, CA, USA

SOURCE
Comcast Cable

TUNER
Channel v78

VIDEO CODEC
mpeg2video

AUDIO CODEC
ac3

PIXEL WIDTH
544

PIXEL HEIGHT
480

TOPIC FREQUENCY

Hockney 3, Los Angeles 2, Hockney Park 1, California 1, Polaroid 1, England 1, Us 1, Margaret 1, Bruno 1, Thefk 1, Chuck 1, Van Gogh 1,
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  SFGTV2    [untitled]  

    December 3, 2013
    6:30 - 7:01pm PST  

6:30pm
this seemed like it was all a piece of this battle he was having against the death advice of one point prospective. he was trying to figure out where it came in the article and by the way, this was all miss characterized not all artists traditions every line he was saying this was a taste for the optical you wanted to do paintings that that was privileged as what reality looked like. and it will last for 4 hundred years and it will be - and there's absolutely masterpieces bus it's the - he begins doing
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watercolors where you can't go back and correct. you can't do optical watercolors your hands immediately rernlz and you have to be focused and you can't go back and correct and he's trying to find ways to do it optical. he wasn't doing the drawings the way he thought but he's trying to be out in nature figuring out how to have more vandals. first, as those watercolors and generally speaking he leaves los angeles and goes to brifrltd ton his mother had died and the
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bed-and-breakfast he took over and established a studio and had room for visitor and began portraying the fields of his summers. this was where he used to work when he was a young man 18-years old. it's the fields he's scattered his mothers ashes in. he maintenance a home in california but he's back to first things and back to a painting. over and over again he's trying to find ways for advantages. it's a series of watercolors and goes to the same place and one summer he does a series of water
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paintings. this is 6 o'clock no longer and this is 10 in the morning. he wanted to do bigger pictures and almost always when he has a body of work it's please a particular master at the constable made of english landscapes. which we couldn't have been making in english landscapes. if you think that about you is a canvas it will blow away but to do them in the landscape and he develops an idea of having multiple can have you seen and a working on sections of them and taking it back to the studio and come back and a so forth and eventually getting things to
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look like this. there's an area of 2 miles which after the royal academy show as hockney national park people coming out to the park who believe it's out of the way. one of the things that's would you have been new england it's wonderful there are particular places for example, this place in the wood is three of those paths coming together and the road the highway is this highway here gold gate and by the way, when we see the images that will be in a car coming this way but here's a place in the effort he don't the same thing in the same
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place some of upstairs. and you can really see how - how he has by this point if you compare this and this for example. this exactly is the advice of one point prospective. this is something you can go in this direction and that direction it's fascinating about the passage of time earlier in the day and the shadows are changing. this has incredible it's been opened up and this is over and over again, there is this feeling the mortality.
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there's a remarkable certificate pictures when the people are 39 out the forest and they pile "those logs on the side of the road and david doesn't say those charge cool drawings on paid-up wood on wood. to my mind an expired drawing of what it looks like when they've been carted away. this is like life and dedicate and david himself asked for a particular tree the total thank you. and a will go on to do a whole series of the tomato thank you. the trees it is the xhrld
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a it portrait. at the same time once again he's about to take off on a side tangent a friend of his like me he is playing with my phone and i explained to him he has to give it back my life is on that thing (laughter) quickly he learners how to draw on an iphone. he's also walking around with sketchbooks. he'd prepared e prepare a little watercolor that was done on sketchbooks but he can do it open the iphone. there's a prachl called brushes it gives us two different things you press one button and you get
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it to be darker or lighter. then you press another button you want it thick or thin. i have one here. don't turn on your iphones on the pad i can draw. the interesting thing david draws with his thumb. for example, i'm photo dpravk him as he's photo graphing me. he'll be later on using his shoulder. you get those rather amazing
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drawings. one of the things that's interesting he spend a lot of time thinking about how to chief an effect of glass or crystal or a sunset and heel go and work on that. he wanted to achieve those effects. he's exfoliated for the first time in his life he can draw a sunrise. he has done sun sets but you have to turn on a light but he can have the room dark and draw with his church and a those are sunrises and he moves to the ipad going back to some of the
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places he's been before and essentially going to u very many. whatever the indignation he has it before everyone else and he's trying to take an illness forgiving the ipad and blow it up to that size right there and in the gallery he's made huge strides. spectacle he is doing something he wanted to do at the polaroid can lodges he wanted to do this with film. but in those days cameras were two big and the technology the digital technology was hopeless and impossible but in the last
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few years bits become possible and he puts 9 cameras on the side of his car he didn't want them on on top of each other. this is to emphasize this is 9 different prospective. this is 9 point prospective staved a one point prospective and he's going down the road you obviously can't see it i can't show you a video reproduction. he does the same route over and over again. it's a remarkable thing almost disturbing to me. i hold with german ray in her
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when says that representation or reality this is his idea of digital technology it's leelt is not the thing that can be not be represented. he can't magician something as vivid as realities. and it's one of the things i want to explore owe november 23rd when we have folks from silicon valley. it looks good but i has images of 18 screens going along the side of the road and they've
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never looked so vivid. where the doors of prospective cleans we'll see the world. there's a vitality in those images that surpass not only what other citizen ma does but what realty side it's kind of confusing. this is towards the end of the talk i want to open it up for confidence. at one point this little area outside of birlg ton t is outside of the hockney park. this is the signpost where the 3 roads subtract. people come up to see the famous tomato dumb he's done over and
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over again. earlier this year david had a series of mini strokes and indeed went to the hospital and he had indeed - by the way, he's 76 years old and the first time he went into a hospital in his life. while i was in the hospital first one that happened the first trip is that somebody started putting graffiti all over the tomato thank you. and the second trip somebody chopped it down. and david went into a two day dark dark depression. when i again suggested it has to
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his own identification but his close mortality with the stroke. when he did get out of bed he didn't 3 incredible drawings of the to the duengland. the guardian put above the fold on the front package front page news. david's drawings of the field trade. he was also by the way, doing other charge cool drawings and when somethings bad happens wherever there's an individual friend who dies he gets all
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friends together and does portraits it has to do with somebody who has died too important tray the life that remains. for example, he did this wonderful portrait of his sister margaret and next to that is a picture of dominique a picture of his studio assistants who then dies in a traechlg six and david proceeds or interrupts a project he had about that doing of - he'd been going back to places he'd portrayed in watercolor and in ipad and now in charge cool.
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he was going to do the coming of spring and he was doing 5 different locations. he gets interrupted by the death of his studio assistant and does a remarkable plays of the thing 5 times and comes back to los angeles and this is where you get the incredible surge of portraits starting with this one. this is john pier another one of his studio assistants. the rub captures the spare of the loss of dominique and it's also playing off van gogh but it is an explosion of work of portraits of friends. & as with those two series that the show ends.
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and that we find david. those are all ipad drawings at the peak of his powers at the age of 76. anyway, i'll stop there and open it up for questions (clapping) comments or questions >> ho how is david doing. >> he was here the last few days. he has recovered completely from the stroke in terms of the slurring and so forth and he's incredibly vivid and visit all heel go into a sleeping i didn't exhaustion for a couple of
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months. he don't a lot of work and then subsidies. he was edged to be this kind of stewart he had those pictures of vacationed he you imagined him living this life of leisure expect he was doing paintings and drawings he's an incredible hard worker and he would be photographed sometimes and it looks like he was a painter. he hardly goes to parties at all he works and works and works and he is at the peak of his powers. it's not at all the standard version of a person falling into darkness and bitterness but i
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suggest that the work is, in fact, completely saturated with the prevention of mortality and death and death of friends and so forth but in the mode of refusal to give in. i complains about sect smoking speaker whatever he's not working he's like the fish on our video screen he rants about the rights of smokers. he hadn't stopped doing that if that were to stop i'd worry >> the question is he - this is an art be historian and part of
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the reason people don't know would to look for. there's plenty of evidence there was concave mirrors and nobody thought it meant anything. similarly there was the evidence it's in the painting themselves. there's a lot more writing of theorists and the method of the middle ages but the trouble is a lot of this stuff is inflated with magic bruno was burned at the stake for the secrets. the church times to kept secret
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for arguments that david lays out but if you are an artist you want your own techniques and people don't give that away. that's how they earn their money. anyway, i would asking you suggest that the - a few things david is one of the greatest noticeers. he's that constantly noticing things whether or not his tire theory is right. he's noticed those holes in the carr advantage these. and he has an count for why they're there. he is notice - there's also - one of the things that is interesting he his opponents would have to get for there are few drawings with very
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sincerely, merry and so forth. and the reason for that he would argue the examiner is being used and there's no account otherwise. but at the end of the day he's not talking about every artists but the dominance that that one point prospective comes out of no where and didn't hold sway so far strongly for 4 hundred years. by the way, one the great things we'll never know. you know, there's that great poem the great archeologist delves into what he can say he's the lucky man guessing is more
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fun than knowing. there's a preponderance of evidence that a lot of the evidence is in the paintings themselves and he's on to a lot of interesting stuff. seems like it's not true not true not true and we're well along that argument >> (inaudible). he's argument would be that we don't look that photograph is okay. we don't like through a less than like a si closed-caption's and the standard cinema it moves around but still you know at any given
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point your head is in a vice and a huge point is our memory we construct in our minds different strategies that were he makes a wonderful argument about pica o picassos painting about the mouth over here and the nose over here. this is what a person looks like if you're up close kissing them and it's absolutely try. that, in fact, that's what intimacy feels like. you're looking away and those are things a camera can't capture. the camera becomes worse and worse the closer i get when
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you're about to kiss somebody. that's why partner thefk the camera in cinema goes away. it's not obscene but he would argue it feels more true to life to do this and that's his point and he's sticking to it and i kind of agree with him actually. other questions. up there. >> (asking question). >> first of all, madison avenue i mean weather hockney does those things they show up all
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over the place. i mean it's often the case that artists - if you think about the way artists are trying to get you to see how they reflect how things look right now and people are in the business of looking take it up and hockney is extremely influential in that regard. apart from that i think - i mean, i could name names of particular people who were his colleagues and in continual dialog with him like or but for example. i think generally there's been great influence like chuck have been interested in his theories but there's a whole group of artists that are fascinated by
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his arguments of the whole artists what is this bird talking back to us (laughter) but at some profound - at this level the artists are ego mann yacks up at top >> one of the things he says interestingly about let me find some of this here so i don't have to - one of the things that's interesting in those sorts of things especially he's
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heel say those are my figure opinions and he's say you are the figure. and in the event he's gu if you look at those there's a disembodiment he's trying to get you into the room rather than look into the room. phased differently in the earlier partner in the window aesthetic that a painting is like looking through a window and applying the window is a wall and how do you get rid of that wall and that's not thinking in terms of looking through a window but being in the thing itself. it feels like that comes in the wake of his one point
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prospective and the thing he says over and over again. the bifurcation or bigger is about the wideer ways to see. i think maybe that's where i'll